{"id":753,"date":"2019-01-10T20:07:15","date_gmt":"2019-01-10T19:07:15","guid":{"rendered":"https:\/\/taniec.blog.polityka.pl\/?p=753"},"modified":"2019-03-28T23:27:05","modified_gmt":"2019-03-28T22:27:05","slug":"co-sie-bedzie-dzialo-w-balecie-w-2019-r","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/taniec\/2019\/01\/10\/co-sie-bedzie-dzialo-w-balecie-w-2019-r\/","title":{"rendered":"Co si\u0119 b\u0119dzie dzia\u0142o w balecie w 2019 r."},"content":{"rendered":"<p>Kilka zagranicznych premier, na kt\u00f3re warto si\u0119 wybra\u0107 w pierwszej po\u0142owie roku.<!--more--><\/p>\n<h2>6 lutego<\/h2>\n<p><a href=\"http:\/\/www.eifmanballet.ru\/en\/news\/133-29122018\">THE PYGMALION EFFECT<\/a>, Teatr Baletu Borisa Ejfmana, premiera w Teatrze Aleksandryjskim w Sankt Petersburgu<\/p>\n<p><iframe loading=\"lazy\" title=\"Boris Eifman&#039;s The Pygmalion Effect - Official Teaser Trailer (2018)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/zSZfCAlfMYE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Choreografia<\/strong>: Boris Ejfman<br \/>\n<strong>Muzyka<\/strong>: Johann Strauss, Jr.<br \/>\n<strong>Scenografia<\/strong>: Zinoviy Margolin<br \/>\n<strong>Kostiumy<\/strong>: Olga Shaishmelashvil<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a<\/strong>: Aleksandr Siwajew, Boris Ejfman<\/p>\n<h2>15 lutego<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/van-dijk-eyal\/15-02-2019\/787\">VAN DIJK | EYAL<\/a>,\u00a0Staatsballett Berlin, Komische Oper Berlin<\/p>\n<p><strong>W programie:<\/strong><\/p>\n<p>DISTANT MATTER<\/p>\n<p><strong>Choreografia<\/strong>: Anouk van Dijk<br \/>\n<strong>Muzyka<\/strong>: Jethro Woodward<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a i scenografia<\/strong>: Paul Jackson, Anouk van Dijk, Claus de Hartog<br \/>\n<strong>Kostiumy<\/strong>: Jessica Helbach<\/p>\n<p>HALF LIFE<\/p>\n<p><strong>Choreografia<\/strong>: Sharon Eyal i Gai Behar<br \/>\n<strong>Muzyka<\/strong>: Ori Lichtik<br \/>\n<strong>Kostiumy<\/strong>: Rebecca Hytting<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a<\/strong>: Alon Cohen<\/p>\n<p><iframe loading=\"lazy\" title=\"Half Life - Sharon Eyal - Staatsballett Berlin\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/ddylj0x3ZiE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>1 marca<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/la-sylphide-napoli-3-akt\/01-03-2019\/827\">SYLFIDA<\/a>, Staatsballett Berlin, Deutsche Oper Berlin<\/p>\n<p><strong>Choreografia<\/strong>: August Bournonville (wersja z 1836 r. przygotowana przez <a href=\"http:\/\/www.frank-andersen.com\/productions\/la-sylphide.aspx\">Franka Andersena<\/a>)<br \/>\n<strong>Muzyka<\/strong>: Herman L\u00f8venskiold<br \/>\n<strong>Scenografia i kostiumy<\/strong>: Marie i Dali<br \/>\n<strong>Re\u017cyseria \u015bwiat\u0142a<\/strong>: Ellen Ruge<\/p>\n<p><iframe loading=\"lazy\" title=\"La Sylphide: the history of August Bournonville&#039;s classic ballet | English National Ballet\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/_FfacMoAIdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>4 kwietnia<\/h2>\n<p><a href=\"https:\/\/www.bolshoi.ru\/en\/performances\/7058\/\">THE WINTER\u2019S TALE<\/a>,Teatr Bolszoj w Moskwie<\/p>\n<p><strong>Libretto<\/strong>: <a href=\"http:\/\/www.roh.org.uk\/people\/christopher-wheeldon\">Christopher Wheeldon<\/a> i <a href=\"http:\/\/www.roh.org.uk\/people\/joby-talbot\">Joby Talbot<\/a> na podstawie \u201eZimowej opowie\u015bci\u201d Williama Szekspira<br \/>\n<strong>Choreografia<\/strong>: Christopher Wheeldon<br \/>\n<strong>Muzyka<\/strong>: Joby Talbot<br \/>\n<strong>Scenografia i kostiumy<\/strong>: Bob Crowley<\/p>\n<p>Prapremiera odby\u0142a si\u0119 10 kwietnia 2014 w Royal Opera House w Londynie.<\/p>\n<p><iframe loading=\"lazy\" title=\"An introduction to Christopher Wheeldon&#039;s The Winter&#039;s Tale (The Royal Ballet)\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/-Y2fWYHWewQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>9 kwietnia<\/h2>\n<p><a href=\"https:\/\/mikhailovsky.ru\/en\/afisha\/performances\/detail\/1310038\/\">EVENING OF ONE-ACT BALLETS<\/a>, Teatr Michaj\u0142owski w Sankt Petersburgu<\/p>\n<p><strong>W programie:<\/strong><\/p>\n<p>A CARROUSEL<\/p>\n<p><strong>Idea i inscenizacja<\/strong>: Alexander Omar<br \/>\n<strong>Scenografia i kostiumy<\/strong>: Alexandra Leonidova<\/p>\n<p>THE PRODIGAL SON<\/p>\n<p><strong>Choreografia<\/strong>: <a href=\"https:\/\/mikhailovsky.ru\/en\/theatre\/company\/principals_m\/ivan_vasiliev\/\">Ivan Vasiliev<\/a><br \/>\n<strong>Muzyka<\/strong>: Camille Saint-Sa\u00ebns<br \/>\n<strong>Kostiumy<\/strong>: Alexandra Leonidova<\/p>\n<p><iframe loading=\"lazy\" title=\"\u0422\u0435\u0430\u0442\u0440 \u0438 \u0433\u043e\u0440\u043e\u0434 \/ The Theatre and the City\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/2TKw9E7MTxA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>4 maja<\/h2>\n<p><a href=\"https:\/\/www.staatsballett-berlin.de\/en\/spielplan\/balanchine-forsythe-siegal\/04-05-2019\/731\">BALANCHINE | FORSYTHE | SIEGAL<\/a>, Staatsballett Berlin, Staatsoper Unter Den Linden<\/p>\n<p><strong>W programie:<\/strong><\/p>\n<p>THEME AND VARIATIONS<\/p>\n<p><strong>Choreografia<\/strong>: <a href=\"http:\/\/balanchine.com\/theme-and-variations\/\">George Balanchine<\/a><br \/>\n<strong>Muzyka<\/strong>: Piotr Czajkowski<\/p>\n<p>THE SECOND DETAIL (nowa wersja)<\/p>\n<p><strong>Choreografia<\/strong>: <a href=\"https:\/\/www.williamforsythe.com\/biography.html\">William Forsythe<\/a><br \/>\n<strong>Muzyka<\/strong>: Thom Willems<\/p>\n<p>OVAL<\/p>\n<p><strong>Choreografia<\/strong>: Richard Siegal<br \/>\n<strong>Muzyka<\/strong>: Carsten Nicolai<\/p>\n<h2>20 czerwca<\/h2>\n<p><a href=\"https:\/\/www.ndt.nl\/en\/tickets\/up-coming-choreographers-19.html\">UP &amp; COMING CHOREOGRAPHERS<\/a>, NDT, Korzo Theater w Hadze<\/p>\n<p><strong>Choreografowie<\/strong>: Juliano Nunes, Ihsan Rustem, Dimo Milev<\/p>\n<p><iframe loading=\"lazy\" title=\"NDT Dutch Season 2018-2019 - Nederlands Dans Theater\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/FRpk55suTGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>I jeszcze: 16 i 17 stycznia (premiera odby\u0142a si\u0119 9 grudnia 2018 r.)<\/h2>\n<p><a href=\"https:\/\/www.hamburgballett.de\/en\/spielplan\/play.php?AuffNr=153128\">BRAHMS\/BALANCHINE<\/a>, Hamburg Ballett &#8211; John Neumeier, Staatsoper Hamburg<\/p>\n<p><strong>W programie:<\/strong><\/p>\n<p>LIEBESLIEDER WALZER<\/p>\n<p><strong>Muzyka<\/strong>: Johannes Brahms<br \/>\nLiebeslieder Walzer, op. 52 i Neue Liebeslieder Walzer, op. 65<br \/>\n<strong>Choreografia<\/strong>: George Balanchine<br \/>\n<strong>Scenografia<\/strong>: Heinrich Tr\u00f6ger<br \/>\n<strong>Kostiumy<\/strong>: Karinska<\/p>\n<p>Prapremiera:<br \/>\nNew York City Ballet, City Center of Music and Drama, Nowy Jork, 22 listopada 1960 r.<\/p>\n<p><iframe loading=\"lazy\" title=\"Brahms\/Balanchine \u2013 Hamburg Ballett\" width=\"1778\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/O_QtddYe_7M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>BRAHMS-SCHOENBERG QUARTET<\/p>\n<p><strong>Muzyka<\/strong>: Johannes Brahms<br \/>\nPiano Quartet No. 1 in G minor op. 25 w orkiestracji Arnolda Schoenberga<br \/>\n<strong>Choreografia<\/strong>: George Balanchine<br \/>\n<strong>Scenografia<\/strong>: Heinrich Tr\u00f6ger<br \/>\n<strong>Kostiumy<\/strong>: Judanna Lynn<\/p>\n<p>Prapremiera:<br \/>\nNew York City Ballet, New York State Theater, Nowy Jork, 21 kwietnia 1966<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kilka premier, na kt\u00f3re warto si\u0119 wybra\u0107 w pierwszej po\u0142owie roku.<\/p>\n","protected":false},"author":10,"featured_media":755,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,130],"tags":[56,156,127,155,153,154,157],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/753"}],"collection":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/comments?post=753"}],"version-history":[{"count":6,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/753\/revisions"}],"predecessor-version":[{"id":1010,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/posts\/753\/revisions\/1010"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/media\/755"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/media?parent=753"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/categories?post=753"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/taniec\/wp-json\/wp\/v2\/tags?post=753"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}